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A.V. Shvets (Moscow) ORCID ID: 0000-0002-1492-2511
MUSIC AS A NARRATIVE-FORMING DEVICE AND IRONIC MODE IN WALLACE STEVENS' "PETER QUINCE AT THE CLAVIER"
Abstract. In this article, the author analyzes Wallace Stevens' poem "Peter Quince at the Clavier." The focus of this paper is on the functional role of narrative in the poem and its poetics. To be more precise, the author offers both a formalistic and a pragmatic account of the plot in the poem (the latter is premised on the social effect the poem produces or is supposed to produce in a social space). The author draws on a formalist distinction "fibula - sjuzet" put forward by theorists like B. Eikhenbaum, V. Shk-lovksy, L. Vygotsky. The author also sketches a the project of a deconstructive revision of formalist conception based on the approach suggested by the American theorist, Peter Brooks. Brooks' approach, heavily steeped in postmodernist ethos, sees sjuzet and fabula not as static constructs but, on the contrary, conceives of each of them as a dynamic impetus in the "field" of the text, as a driving force shaping the readerly "desire." Instead of binary model "fabula-sjuzet," the author chooses to triangulate three terms: plot - fibula - sjuzet. This tripartite model suggests the following: plot, as a dynamic configuration of readerly experience, arises from the workings of fabula on sjuzet. The author demonstrates how in this poem 1) plot figures as a dynamic model of structuring the poetic utterance, 2) plot is constituted by the means, specific to poetry (tropes, sonic devices), 3) plot helps bring about a pragmatic intention of the poem: staging a communicative failure, defamiliarizing a common communication script.
Key words: American poetry; Wallace Stevens; narrative in poetry; performative poetry.
А.В. Швец (Москва) ORCID ID: 0000-0002-1492-2511
Музыка как нарративообразующий троп и ироническая установка в поэме Уоллеса Стивенса «Питер Пигва за клавикордами»
Аннотация. В статье рассматривается поэма Уоллеса Стивенса «Питер Пигва за клавикордами». Упор делается на функциональную роль сюжета в поэме и его поэтику. Иными словами, речь идет как о формалистическом, так и о прагматическом описании сюжета (с точки зрения производимого им и/или имплицируемого эффекта в социальном пространстве). Автор опирается на формалистское разграничение «фабула-сюжет», рассматриваемое такими теоретиками, как Б. Эйхенбаум, В. Шкловский, Л. Выготский. При этом предлагается деконструктивист-ское прочтение-ревизия формалистской концепции, основанное на подходе американского теоретика П. Брукса. В рамках этого подхода, вобравшего интуиции постструктуралистских методологий, сюжет и фабула мыслятся не как статичные конструкты, а как динамические импульсы в поле произведения, движущие силы читательского «желания». Вместо двучленной модели «фабула-сюжет» автор вво-
дит терминологический треугольник «сюжетная схема - фабула - сюжет» (plot -sjuzet - fabula), в рамках которого происходит следующий процесс: сюжетная схема как динамическая конфигурация читательского переживания возникает в итоге преображения «фабулы» импульсом «сюжета». Автор статьи показывает, как в разбираемой поэме сюжет а) выступает как динамическая модель, посредством которой поэтическое высказывание обретает структуру, б) конституируется формальными средствами, присущими поэзии (тропы и звуковые эффекты), в) работает на специфическую прагматическую интенцию имплицитного автора: разыгрывание коммуникативной неудачи, остранение знакомого коммуникативного сценария.
Ключевые слова: американская поэзия; Уоллес Стивенс; нарратология в поэзии; перформативная поэзия.
Wallace Stevens' poem Peter Quince at the Clavier has attracted critical attention because of a notable disjunction between its constituent parts. Namely, this disjunction is manifested through the juxtaposition of the biblical story of Susanna and the Elders, Peter Quince's performance and the poet's illocu-tionary initiative, communicated indirectly [Leggett 1990; Nyquist 1985]. As H. Needler puts it, those can be defined as "discrepant elements" sponsoring a "transition that needs to be explained" (i.e. a shift from Peter Quince playing music to the story of Susanna and then back to the lyrical monologue) [Needler 1994, 50]. In Needler's phrasing, we can register an apparent "oddity" "arising from the juxtaposition, already noted, of seemingly unrelated references. The Shakespearean and biblical elements have no apparent a priori connection and, individually as well as in their presumed or imagined relations, they generate for the reader sharply discordant effects that call for explanation" [Needler 1994, 51].
In this paper, the argument consists in stressing the necessity to explain this compositional oddity through the analysis of narrative. Or, to be more exact, in order to account for an unexplainable juxtaposition, we rely on the analysis of the plot as inherent to the structure of the poem. The poem, in fact, reenacts the plot of the biblical story framing it by Peter Quince's narration. Thus, the story is told through a fictional character and transmitted to us by the author. In other words, the poem as a speech act offers us a complex structure: its author uses the masque of a fictional persona to unfold a plot. In light of this statement, the following questions could be raised: how is the plot integral to the composition of the poem? What role does it play? How does it play into Peter Quince's performance? How is it structured in the poem and how does it structure the poem itself?
Conceptions of plot: plot as result and process
First, a clarification needs to be made on the concept of plot. The notion of "plot" could be interpreted in a formalist way when it is seen in the terms of fabula (фабула) and sjuzet (сюжет), or story and discourse. Fabula functions
as the description of events, and sjuzet refers to the way in which this description is organized; fabula is "the material to be redesigned by sjuzet," in Shk-lovsky's words [Шкловский / Shklovskiy 1921 a, b; Эйхенбаум / Eykhenbaum 1927], and sjuzet is the "construction" projected onto this material [Эйхенбаум / Eykhenbaum 1927], the scaffolding of a textual configuration. This vision is further developed by a Russian critic Vygotsky, the follower of the formalist doctrine. In his view, sjuzet is not only defined as the result of the reconstruction, recomposition of the material of fabula, but also is an overarching structure within which fabula becomes legible and comprehensible. "Sjuzet relates to fabula in the same way a line of verse relates to the words that compose it, or melody relates to its sounds" [Выготский / Vygotskiy 1988, 188]. In formalist reading, plot appears to be equivalent to sjuzet, becoming a schema governing our perception of the material, the events chosen for the presentation.
This conception of plot is revised by Peter Brooks who puts forward a post-structuralist theory of plot. Commenting on formalist approach, he points out that "[t]he Russian Formalists presented what one might call a "constructivist" view of literature, calling attention to the material and the means of its making, showing how a given work is put together" [Brooks 1992, 14]. Unlike the formalists, Brooks is invested in regarding plot as a dynamic force, "an interpretative structuring operation" [Brooks 1992, 19], the temporal process of designing a meaningful configuration in the text. "Plot, I would add, - Brooks writes, - once more appears as the active process of sjuzet working on fabula, the dynamic of its interpretive ordering" [Brooks 1992, 25]. In other words, fabula and sjuzet are not virtual configurations or schemes that we construe upon having read the text; they are presented in the text simultaneously as two interacting forces, as the ongoing process of designing the meaning that can be obtained through a succession of events. Plot is the performance of meaning-making that stages itself as we read the text, so it is temporal, dynamic, not static.
Plot in / and poetry
Before we delve into the analysis of the poem, the following question has to be addressed: why suspect the presence of plot in Peter Quince, the poem, a genre that by definition purports to belong to lyric, a non-narrative mode of writing and casting experience? Poetry, if we return to Aristotle, is unmediated speech where the author speaks in his own person, the direct (in comparison with tragedy and epic) communication of feeling that does not rely on "characters as living and moving before us" [Aristotle 1902, 13]. As Peter Brooks would concur, plot as a device operates mostly in prose. The explanation has to deal with the distinction he makes between poetry and prose: "Lyric poetry... strives toward an ideal simultaneity of meaning, encouraging us.to grasp the whole in one visual and auditory image; and expository argument, while it can have a narrative, generally seeks to suppress its force in favor of an atemporal structure of understanding; whereas narrative stories depend on meanings de-
layed, partially filled in, stretched out" [Brooks 1992, 21].
Thus, poetry, unlike prose, is geared towards an atemporal presentation of meaning through a temporal process of reading. Whereas in the novel the meaning is inseparable from a temporal configuration of events, in poetry it could be abstracted from the temporal dimension. The "structure of understanding," inherent to poetry, could rather be defined as "spatial," in J. Frank's vision of modernist poetry. As Frank says, a modernist poem (including Stevens) is "a continual juxtaposition" of temporally structured elements so that they are "fused in one comprehensible view," [Frank 1945, 652] ahistorical and timeless.
Therefore, as Brooks would like to remind us, plot, being a temporal arrangement, does not play a significant role in poetry. It is replaced by other organizing principles, such as meter and rhyme. The plot, according to Brooks, as a prosaic instrument, "has something of the rigor and necessity provided in poetry by meter and rhyme, the pattern of anticipation and completion which overcodes mere succession; or else, to take a banal example, the music of a film, which patterns our understanding of the action" [Brooks 1992, 94]. In other words, the role of plot as a signifying practice, conjuring up meaning, equals the role of meter and rhyme. Meter and rhyme, remaining consistent throughout the poem, figure as the structuring strategies that enable the construction of an atemporal meaningful configuration.
In light of these statements, the following question arises: even if the plot is present in the poem, can its meaning be presented through a temporal structure or is it indeed suppressed in favor of an atemporal, spatial model? As we intend to show, it can be argued that plot is an essential component of the poem Peter Quince at the Clavier. Moreover, not only is it integral to the poem, but also transmitted through a device that is grounded in the temporal dimension of the poem.
Peter Quince at the Clavier: is there a plot in this poem?
As Stevens himself defined it, when he was conceiving Peter Quince, he "was thinking in terms of musical movements - sort of libretto" [Brazeau 1977, 200] (italics in the original). Libretto is the summary of what is happening on stage, often in verse. However, despite being written in verse, it has the plot since it refers to the dramatic action of the opera. Besides, it also reflects a "musical movement," the progression and development of a musical text that parallels the play of the actors. It can be inferred that libretto is a hybrid text, belonging at the same time to different genres and modes of enunciation. Libretto can provisionally be defined as a verbal orchestration of the musical and dramatic performance that communicates both the musical and the dramatic aspects of the plot as the process of constructing meaning.
Returning to Peter Brooks, we can suggest that poem as a libretto, which is the case of Peter Quince, has a plot, albeit different from the plot we observe in prose. Its plot is both musical and dramatic, encompassing musical score and the succession of events, playing them against each other. In doing so, it
facilitates the interplay between fabula and sjuzet, between the events and the process of organizing them into a coherent structure.
In Peter Quince at the Clavier the plot as a structuring operation is manifested on the level of music as presented in the text. Or, to put it in a different way: the verbal score of a musical performance is turned into a process of dynamic reordering of events, being a sjuzet of the poem. Interestingly, this verbal orchestration of a musical soundtrack is introduced to the poem through a formal device of rhyme, solidifying the compilation of musical metaphors and narrated events into an integrated whole. Thus, sjuzet is formed by the formal means specific to poetry as the mode of diction.
Music, plot and narrative in the poem as the promise for the plot
The presence of music in the poem has been noted by Stevens scholars. As W. Fitzgerald argues, Peter Quince is "a poem about music, whose authority it would appropriate to perform certain sleights-of-hand" [Fitzgerald 1992, 44]. Music is "a figure for desire in this poem which transforms physical desire into a spiritual sacrament" (Ibid.). Thus, desire, communicated through music, comes to be a force shaping the progressive and teleological movement towards the aesthetic doctrine in the end. To elaborate further, desire shapes the plot, is used as a mechanism helping to propel the plot forward.
The equation of desire and music is proposed in the first lines of the poem:
Just as my fingers on these keys
Make music, so the selfsame sounds
On my spirit make a music, too.
Music is feeling, then, not sound;
And thus it is that what I feel,
Here in this room, desiring you,
Thinking of your blue-shadowed silk,
Is music.
[Stevens 1915, 31]
Here the relation between "fingers" and "keys" is presented as identical to the relation between "sounds" and "spirit." The interaction between fingers and keys, as well as between sounds and spirit, results in music. The equivalence between "fingers : keys" and "sounds : music," or the equivalence between physical and spiritual dimension, allows the author to suggest that music is feeling, i.e. something belonging to the realm of soul. The next step will be to bring together music and desire (as a feeling): desire is specified as a peculiar sort of feeling as music.
How does the desire helps to plot the poem and how is it plotted by music as its sonic, physical embodiment? In the second half of the first part the speaker
HOBUU jмnоnогицecкиu BecmHUK. 2018. №2(45). --
chooses to make his desire narratable by comparing it to "the strain waked in the elders by Susanna." Thus, desire as the timeless state, the music of the soul, is converted into the narrative of desire and the accompanying musical performance. Music, in fact, parallels the unfolding of desire:
Of a green evening, clear and warm, She bathed in her still garden, while The red-eyed elders, watching, felt
The basses of their beings throb In witching chords, and their thin blood Pulse pizzicati of Hosanna. [Stevens 1915, 31]
As it can be noted, in this passage the narrative starts with Susanna bathing: the scene is set through a telling visual contrast between "green" and "red." This contrast portends the future conflict and is enhanced by the musical contrast between "throbbing basses" (corresponding to a sexual lust) and "pizzicato" (corresponding to the pulsation of blood in veins). Because of this parallelism, the visual contrast is brought forward and becomes legible as the sign of what is to come.
Thus, we have registered the connection between desire, music and narrative. Desire is manifested through and by the means of music, and both music and desire play against each other in the narrative. Music accentuates the turning points of the narration, plotting meaning onto the episodes and serving as sjuzet. How is it realized in poem as a temporal sequence and how do formal devices, inherent to poetry, play into this?
Music as plot: sounds as plotting elements
The second and the third section of the poem reflect the development of the story and of the musical accompaniment, being at the same time a narrative and Peter Quince's performance. The music, introduced through metaphors, emphasizes the twists and junctures of the narrated story, projecting sjuzet onto fabula. The beginning of the story is introduced through a latent musical metaphor:
In the green water, clear and warm,
Susanna lay.
She searched
The touch of springs,
And found
Concealed imaginings. She sighed, For so much melody. [Stevens 1915, 32]
The "touch of springs" can be read literally, as the pressing of water streams
against one's body, but it also can be interpreted metaphorically, as a faint reverberation of sounds generated by the string instruments, the sound of which resembles the babble of springs (which is supported by the end of the stanza, where sighs create melody). "Spring" also refers to a mechanism that bounces back when pressed, and thus can be regarded as a metaphor for the unfolding of the plot. "The touch of springs" marks the beginning of the plot, intimates that the orchestra has begun to play, refers to the contours of action that will be realized when the "spring" is released.
The next musical metaphor, more ostensible than the first, marks a turning point in the development of the story:
A breath upon her hand Muted the night. She turned -A cymbal crashed, And roaring horns. [Stevens 1915, 32]
Susanna notices the presence of the elders by feeling a breath on her hand. Interestingly, a quite distinct sound of breath ruins the soundscape around her by "muting the night." It can be read as a pause, a significant absence of sound. And after the pause the turning point in the unfolding of the story comes, enhanced and amplified by the musical reference. The moment of revelation is compared to the crash of a cymbal and the roar of horns, turning into a peculiar "soundtrack" of the story.
Interestingly, the presence of both metaphors in the second section is secured through the device of rhyme. Rhyme, in fact, is, first of all, a sonic, acoustic phenomenon based on a harmonious relation between sounds. The word combination "touch of springs" is echoed by "concealed imaginings" (semanti-cally suggesting a non-literal reading of "springs"!). "Horns," in its turn, chimes with "turned," if not in sounds, but in the number of syllables, making the two lines sonically equivalent and rhyming. Thus, music as a plot-forming instrument is modeled by the sonic means specific to poetry.
In the third section of the poem the same operation takes place: the action is shaped and delineated by musical and / or sonic references. The scandal is rendered through a musical comparison:
Soon, with a noise like tambourines,
Came her attendant Byzantines.
[Stevens 1915, 32]
Tambourines produce a loud, sharp sound that directs our anticipations and expectations in relation to what is happening. Again, we can see how music patterns the understanding of the plot. The musical line is further developed in the lines where climax is dissolved:
And as they whispered, the refrain Was like a willow swept by rain.
Anon, their lamps' uplifted flame Revealed Susanna and her shame.
And then, the simpering Byzantines Fled, with a noise like tambourines. [Stevens 1915, 33]
The sounds of Byzantines' voices are reminiscent of raindrops and add a monotonous continuity into the scene, so that the impact of a shocking event is neutralized. These monotonous sounds, in fact, abate the panic. Then the sound of tambourines marks the end of the story and also returns back to the beginning of the third section, repeating it. The musical performance is now over, although its end repeats the "beginning" of the section, being a final variation of it. This succession of musical parts lays out the plot of the third section not only as the progressive advancement to the end, but also as a variation of the same structure of understanding that guides our perception and makes a coherent meaningful whole out of the material of events.
As was the case with the second section of the poem, in the third section of the poem musical and sonic metaphors shaping the plot are introduced through the use of rhyme. Nevertheless, in this section the rhyming pattern is different from the rhyming pattern in the previous section. We have a consistent scheme of rhyming: the first line is paired with the second, whereas in the second section the rhyme occurred only in two even or odd lines in a stanza. The different rhyming pattern changes the rhythmical arrangement of the stanza. In both section the rhyming lines have the same number of stressed syllables, but in the second section we observe only 3 stressed syllables in a line, while in the third section the number of stressed syllables goes up to 4 or 5, changing the melodic contour of an utterance.
The change in the prosodic characteristics of verse enunciation can also be read as a sign of "musical quality" inherent to the poem. Moreover, it is also related to the plot: as the plot unfolds through the use of musical metaphors, the prosody of the poem changes, registering the progress of the plot on the level of poetic language. In light of this observation, it can be argued that the resulting "structure of understanding," or, rather, "structure of the experience of plotting" is not atemporal, spatial, but is grounded in the temporality of sound and narration.
Dramatic persona (the narrator): misplotting and the narrative failure
In analyzing the plot of the poem, we have been omitting the narrator, Peter Quince (as it is indicated by the title of the poem). How is he related to the plot?
The figure of Peter Quince as the narrator has been interpreted as a version
of "a poet - a comic version, perhaps, but a poet nevertheless" [Meyer, Baris 1988, 57]. In other words, it has been stated that the connection between him as the musician and the narrator could be suggested. As he plays the music, he narrates, and vice versa. But why is he called Peter Quince and what ramifications it could have?
Peter Quince, as we well know, is the character from Shakespeare's Midsummer Night's Dream, the director who was unable to articulate the prologue to his play properly. He "play' d on this prologue like a child on a recorder - a sound, but not in government" (V.i.122-24), or completely misused the accents, intoned the prologue not in the way it was meant to be read. By misplacing the stresses, Peter Quince performs a deformation offabula by sjuzet, violates the principles of creating a plot. In other words, Peter Quince is the model for a bad narrator, for he is unable to superimpose a structure of meaning onto a structure of words.
If we take this consideration into account, the end of the poem where the doctrine of beauty is pronounced ("in the flesh it is immortal"), begins to sound hollow. The legitimation of desire the narrative was supposed to execute is not achieved, for the poem is a deliberately staged narrative failure, given the reputation of the character. What we have is a failed musical performance and a failed narration.
However, as Meyer and Baris would like us to believe, the misreading and misplotting taking place in the poem could be an advantage to Peter Quince's performance: "Indeed, a central feature of Stevens' poem is its presentation of an artist who creatively refigures or, as Peter Quince would claim, "disfigures" a given text in each performance. The artist's disfiguring, a kind of misreading or musical misprision, is yet a positive creative act despite its apparently negative nomenclature" [Meyer, Baris 1988, 57]. As the critics explain, the "disfiguring" is, in fact, the realization of a musical score, which was the peculiar trait of the Baroque music, associated with Peter Quince: "An outstanding characteristic of Baroque music is the necessity for the performer to "realize" the minimal notation of the musical score through his own interpretation in performance... In the process of realization the musician combines his awareness of the written score, his memory of previous performances, and his physical touch upon the instrument. The themes of "Peter Quince at the Clavier" illustrate this process - the merging of particular performance with mental act - in both poet and reader" [Meyer, Baris 1988, 58].
Thus, what has been regarded as a narrative failure and misplotting, could be seen as an experimental realization of an all-too-familiar affective score, the confession of one's feelings. Here the intention of the author comes into play: by pretending to fail, or making the fictional speaker fail, he realizes the old melody in a new way. An ironic gesture of delegating the narrative agency to an unreliable, dubious, inept speaker who deforms the plot appeals to a shrewd reader, the one who is able to discern the play behind. If it happens, the author and the addressee could become closer on the ground of a shared "secret" knowledge, on the account of having understood the joke. Thus, the expression of desire, although it has failed, reaches its goal: it succeeds in forming the attachment to the speaker behind the dramatic persona.
Conclusion
In Peter Quince at the Clavier the poem as a speech act possesses a complex structure: it is the speech of the fictional speaker, Peter Quince, that presents the process of forming a plot, projecting the plot onto the story. The plot is constructed through musical references which is also manifested on the level of prosody. The meaning formed in plot is grounded in the temporal dimension, despite the assertions that poetry gravitates towards atemporal structures of understanding, spatial models. When we transition to the upper level, the level of narrator, we realize that the attempt of plotting the poem has in fact been "misplotting," a narrative failure, because of a set of intertextual horizons of expectations attached to the name of Peter Quince. However, this posture of a "bad narrator" is in line with an ironic gesture performed by the author on the level of enunciation: he delegates the agency to Peter Quince to play a game with his audience, to demonstrate an unorthodox realization of the familiar communicative script through the disfiguring of the plot.
REFERENCES (RUSSIAN)
1. Выготский Л. Психология искусства. Ростов-на-Дону, 1988.
2. (a) Шкловский В. Развертывание сюжета. М., 1921.
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5. Aristotle. The Poetics of Aristotle / edited with critical notes and a translation by S.H. Butcher. London, 1902.
6. Brazeau P. Parts of A World. Wallace Stevens Remembered. An Oral Biography. New York, 1977.
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8. Fitzgerald W. "Music Is Feeling, Then, Not Sound": Wallace Stevens and the Body of Music // SubStance. 1992. Vol. 21. № 1. P. 44-60.
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REFERENCES (Articles from Scientific Journals)
1. Fitzgerald W. "Music Is Feeling, Then, Not Sound": Wallace Stevens and the Body of Music. SubStance, 1992, vol. 21, no. 1, pp. 44-60. (In English).
2. Frank J. Spatial Form in Modern Literature: An Essay in Three Parts. The Se-
wanee Review, 1945, vol. 53, no. 4, pp. 643-653. (In English).
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4. Needler H. On the Aesthetics of 'Peter Quince at the Clavier.' Wallace Stevens Journal, 1994, vol. 18, no. 1, pp. 50-62. (In English).
(Articles from Proceedings and Collections of Research Papers)
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6. Nyquist M. Musing on Susanna's Music. Hosek Ch., Parker P. (eds.) Lyric Poetry After the New Criticism. Ithaca, 1985, pp. 310-327. (In English).
(Monographs)
7. Aristotle (author), Butcher S.H. (ed., transl.). The Poetics of Aristotle, edited with critical notes and a translation by S.H. Butcher. London, 1902. (Translated from Ancient Greek to English).
8. Brazeau P. Parts of A World. Wallace Stevens Remembered. An Oral Biography. New York, 1977. (In English).
9. Brooks P. Reading for the Plot: Design and Intention in Narrative. Cambridge, Mass., 1992. (In English).
10. Leggett B.J. Early Stevens: The Nietzschean Intertext. Durhem, N.C., 1992. (In English).
11. (a) Shklovskiy V. Razvertyvanie syuzheta [Unfolding of Plot]. Moscow, 1921. (In Russian).
12. (b) Shklovskiy V. Tristram Shendi i teoriya romana [Tristram Shandy and the Theory of the Novel]. Moscow, 1921. (In Russian).
13. Vygotskiy L. Psikhologiya iskusstva [Psychology of Art]. Rostov-on-Don, 1988. (In Russian).
Anna V. Shvets, Lomonosov Moscow State University.
M.A. in Philology (MSU), M.A. in Comparative Literature, (University of Georgia, Athens, GA, USA), Ph.D. student at Discourse and Communication Department at MSU.
E-mail: [email protected]
Швец Анна Валерьевна, Московский государственный университет им. М.В. Ломоносова.
Магистр филологии (МГУ), магистр в области «Сравнительное литературоведение» (Университет Джорджии, Атенс, Джорджия, США), аспирант кафедры общей теории словесности МГУ
E-mail: [email protected]
